In our limited weekly series "In Their Own Words," we will be featuring Kara Stewart's exclusive book reviews, as well as interviews with Native creators. This week, Stewart speaks with Cynthia Leitich Smith about her Native reworking of Peter Pan, and Brian Young about his middle grade title rooted in Navajo folklore.

In my August 2020 article Strategies for Teaching Seven Native-Centered Books to K-12 Students, I spoke of a contemporary renaissance of recently published Native-centered books. We are now on the cusp of, if not already diving into, that long-awaited phenomenon. Thankfully, agents, editors, and publishers have become increasingly aware of the need for accurate, lived-experience-driven Native books for all kids.

I share with you here some not-to-be-missed Native chapter book, middle grade, and young adult releases from 2020 and 2021—their fully unfurled words have blossomed into leafy vines of expression of our hope, strength, and resilience. In further gift to us, each author offers their own heartfelt words about their book and their journey to bring it from seed to fruit.

Middle Grade Fantasy and Folklore

LEITICH SMITH, Cynthia. Sisters of the Neversea. Heartdrum. 2021. ISBN 9780062869975.

Here is a Peter Pan story that I, a Native woman, feel good about reading to young people! There are certainly plot similarities to the original story, but endearing and well-developed characters, as well as respectful treatment of all characters, make the difference in this version. Wendy, a White English girl and stepsister to Lily, a Creek girl, find themselves whisked away to Neverland along with their adorable four-year-old brother Michael by none other than Peter Pan and Belle. But things are not at all what they seem in Neverland, from Fairies, Merfolk, and pirates to time itself! How will Wendy and Lily ever get themselves and Michael home safely? A charming narrativevoice and multidimensional Native characters set the story straight about Native Americans, while Wendy and Lily’s care for their brother, parents, and elders speaks to the connection of Native families. This book is a middle grade novel that will appeal to a wide range of readers.

Photo by Christopher T. Assaf

What is the main takeaway you would like readers to get from reading this book?

Sisters of the Neversea shows readers that blended and found families are real families, that the love and respect within them can empower and challenge us in ways that make us more thoughtful, empathetic human beings. We find this to be true in the Roberts-Darling family, among the Native and Lost kids on the island, and in the kids’ adoption of a feisty tiger cub. It’s further echoed by the rambunctious pirates of The Jolly Roger, the temperamental Merfolk in their lagoon, and even by Peter and the radiant fairy Belle.

What do you wish I would ask you about your book? What would you like to say about the finished product, the creation, or the publishing process?

Given author J.M. Barrie’s depictions of Native people in Peter Pan, many dear friends have expressed surprise that I, a Muscogee Creek children’s author, would embrace the opportunity to reinvent and bring forth elements of the classic into contemporary times.

To them, I say that Sisters of the Neversea is in conversation, even debate, with Barrie’s work, actively engaging with both the problematic aspects and the wonder of his vision.

Meanwhile, my novel celebrates the hope of a new generation, of fictional young heroes from a myriad of backgrounds coming together to support one another. And it does so by centering three-dimensional characters, including Native characters, in a page-turning adventure.

To be candid, revisiting Barrie’s novel was at times a painful process—not one I’d take on without something to say. So, I’m hopeful that fans of his work enjoy how I brought forth its more sparkling qualities, that those who struggled with it find my story healing, and that everyone in between simply enjoys a heartfelt, magical read.

YOUNG, Brian. Healer of the Water Monster. Heartdrum. 2021. ISBN 9780062990402.

Nathan definitely does not want to spend the summer with his father and his father’s new girlfriend, which means he is at his grandmother’s mobile home on the Navajo reservation without electricity or cell phone service. But this would be far from the boring summer he anticipates! Nathan finds an ailing Water Monster and, in his quest to heal the Water Monster, encounters more amazing creatures and worlds. Meanwhile, Nathan also tries to help his Uncle Jet, who struggles with addiction. Nathan eventually heals the place within himself that allows his bravery and his father in, and begins the healing process for his Uncle Jet, too. Full of action and adventure, this is a page-turner middle graders will love! The care Young took in seeking and writing a story that does not give away from the Navajo that which should not be given, and to guard against cultural appropriation, is a model for other writers.

Photo by Donovan Barney

What is the main takeaway you would like readers to get from reading this book?

I divided this book’s readership as two separate groups, Diné and non-Diné. When writing this book, keeping both groups satisfied by providing enough information for non-Diné readers to have a coherent narrative without providing restricted information for Diné readers to show my respect for the culture was a constant stressful battle. I have a lot of new white hairs. For non-Diné readers (I say non-Diné because not all Indigenous peoples are going to be familiar with Diné mythology), I wanted to demonstrate the value of the philosophy of Hozhó Nahasdlį́į́ (living in harmony). The characters and the land are in a state of disharmony. Nathan, as a person of modern and traditional lifestyles—able to live in Phoenix as well as Nali’s mobile home site, connoisseur of pop culture as well as Diné culture—is a bridge and solution to the conflicts that arise from western and traditional Diné civilizations. For Diné readers, I wanted to demonstrate the value our culture has in modern contexts and situations. We face challenges and live in environments that our ancestors could never dream of. But, our teachings, our values, our stories can guide us, can heal us. Also, I wanted to demonstrate that Diné stories can be successful in the mainstream publishing industry so that young Diné writers will see that they too can be successful. 

What do you wish I would ask you about your book? What would you like to say about the finished product, the creation, or the publishing process?

I would love to be asked, “How many copies should I buy?” I’d definitely respond, “All of them.” Columbia was and is expensive!

Seriously though, I’d love to be asked, “Your book depicts mature content such as substance dependency and mood disorders. What was your decision in including that content?” 

My answer is that I was initially worried about including Uncle Jet’s storyline in the first draft. But once I had written down Uncle Jet’s story arc, I knew it had to be included. Growing up on my homelands, I encountered friends, family members, community members, who were addicted to a variety of substances and endured mood disorders. For me, they weren’t just their disorders or addictions. They were people who were struggling in difficult conditions. Rates of addictions and mood disorders are disproportionately high in many Indigenous nations, mine included. I felt that if I was going to set this story on my homelands, I had to depict that, because Diné children come into contact with those issues far more frequently than other groups. 

I am just breathless and overwhelmed that we were able to include artwork from Shonto Begay. I don’t think it’s common and in fact this may be the first time a Diné author and a Diné artist have collaborated on a book in the mainstream publishing industry!

Which Native writers of adult literature do you read? Who resonates with you and why?

Louise Erdrich is my favorite. There’s also Brandon Hobson and Leslie Marmon Silko. I adore Erdrich because her prose is often lyrical, her metaphors devastatingly arresting, and her plot lines are simply brilliant. She also writes children’s books; the "Birchbark House" series is amazing! She is definitely a huge source of inspiration for me. 

Kara Stewart (Sappony) is a Native Educational Equity Consultant, reading specialist, and writer. She has served many years on the Sappony Tribal Council and the North Carolina State Advisory Council on Indian Education. She was the 2020 United Tribes of North Carolina Indian Educator of the Year and has been a literacy coach and teacher in the public schools for 23 years with a focus on literacy and culturally responsive teaching about Native people. She was the 2014 Lee & Low Books New Voices Honor Award winner for her picture book manuscript.